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Journal articles on the topic 'Surrealism'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Ortiz, María Mercedes. "Alquímicamente surrealista: la pintura de Remedios Varo." La Manzana de la Discordia 6, no. 2 (2016): 85. http://dx.doi.org/10.25100/lamanzanadeladiscordia.v6i2.1501.

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Resumen: En este ensayo, se exploran las posibilidadesde la escritura automática como un ejerciciode creatividad basado los planteamientos delsurrealismo, en especial de André Breton. La autoraexplica sus experiencias con este tipo de escritura,en las cuales comenzó contemplando cuadros de lapintora surrealista Remedios Varo, a modo de inspiración,indagando también sobre las relacionesentre la mujer y este tipo de creación.Palabras clave: surrealismo, pintura, RemediosVaro, mujerAlchemically Surrealist: Remedios Varo’s paintingAbstract: This essay explores the possibilities ofautomatic writing

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Walden, Lauren. "Le surréalisme et la Chine : terrain inconnu." Histoire de l'art 82, no. 1 (2018): 157–68. https://doi.org/10.3406/hista.2018.3787.

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In 1925, André Breton describes a dream of China in his ‘Lettre aux voyants.’ Although Bre-ton never travelled to Asia himself, surrealism proved influential among avant-garde circles in the French concession of cosmopolitan Shan-ghai. This article begin with a consideration of the early photographic work of Lang Jingshan. The first Chinese photographer to portray female nudes, Jingshan’s images closely resemble those of Man Ray, whom he later meets in Paris after World War II. Paris-based Chinese student Pang Xunqin, moreover, painted a surrealist-inspired pastiche called Suchlike Paris in 19

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Ungureanu, Delia. "Island Politics." Journal of World Literature 3, no. 3 (2018): 311–33. http://dx.doi.org/10.1163/24056480-00303006.

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Abstract In 1929, the father of surrealism André Breton and his friends published a “world map in the time of the surrealists,” which placed the Pacific in the center with a disappearing Europe and a nonexistent USA, and showing oversized islands from New Guinea to Ireland. During the 1930s, surrealist ideas and practices were creatively transformed beyond recognition by marginal writers who had emigrated to and/or excommunicated surrealists living in Paris. Looking beyond Casanova’s and Moretti’s centers and (semi)peripheries that organize the world system, I argue that by thinking instead of

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Konstantinou, Christina. "100 Years of Surrealist Imagination: Releasing the Bird from the Cage." International Journal of Surrealism 2, no. 1 (2024): 73–87. http://dx.doi.org/10.1353/ijs.2024.a943390.

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Abstract: This essay examines Surrealism’s relation to the precious concept of freedom by studying the surrealist conception of the imagination, in particular André Breton’s thoughts on imagination and poetry in the "Manifesto of Surrealism" (1924). In order to appreciate Breton’s influence across Europe, the essay shifts its focus onto Czech Surrealism, emphasizing the contradictions and similarities between Bretonian and Czech surrealist thinking through the inclusion of sources and excerpts by members of the Czechoslovak surrealist group—especially by Vratislav Effenberger—as well as fragme

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Winks, Christopher. "Snakecharmers and Nascent Oxygen: André Breton and the American Marvelous." Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada, no. 4 (November 10, 2003): 85–98. http://dx.doi.org/10.22201/ffyl.poligrafias.2003.4.1630.

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As André Breton and his fellow surrealists never tired of affirming, the transformative surrealizing impulse long antedated the surrealist moment (hence the movement's interest in developing and reconfiguring a force-field of multiple traditions or anti-canons). To some degree, surrealism's truth lay outside the movement proper, and a fortiori outside individual creative works, which while they could approximate certain dreams, obsessions, or lived moments, were but intimations of a greater revelation. Surrealism can best be described in terms of its constant search, articulated from Breton's

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Kuçuku, Bora. "Surrealism, an Exalting Freedom: The Sexual and Erotic Dimension." European Journal of Social Science Education and Research 9, no. 1 (2022): 33. http://dx.doi.org/10.26417/120ixy78.

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This article aims at exploring the sexual factor, which sensitized and even scandalized the contemporaries of Surrealism. The tendency for a different kind of freedom put the Surrealist movement at the forefront of the changes that happened in the twentieth century. The Surrealists became aware that sexuality was becoming a source of huge scandals and debates and they thought of using it as an “attack” weapon. In the Second Surrealist Manifesto, Breton calls upon every Surrealist “to level at the breed of ‘moral duties’ the long-range weapon of sexual cynicism ».

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Lee, Jinhee, and Jaejoon Lee. "The Logic of the Uncanny: On the Role of Uncanny and Representation in Hal Foster's Analysis of Surrealism." Sookmyung Research Institute of Humanities 14 (June 30, 2023): 149–74. http://dx.doi.org/10.37123/th.2023.14.149.

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Hal Foster shares his basic stance with Rosalind Krauss in the analysis of Surrealism. He focus is internal criticism of Surrealists; the common writing style and Automatism agreed by Surrealist Manifesto are quite inappropriate for the expression of paintings. And he accommodates uncanny logic to solve this problem. Uncanny is an ontological panic associated with the accidental revealing of something fundamentally oppressed. The purpose of this discussion is to reappraise about the logic of the uncanny in Foster's Surrealism to supplement for the problem of representation that he could not an

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Miller, C. F. B. "Surrealism's Homophobia." October 173 (September 2020): 207–29. http://dx.doi.org/10.1162/octo_a_00408.

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The primary document of Surrealist homophobia is a transcript, published in 1928 in the magazine La Révolution surréaliste, entitled “Research on Sexuality/ Extent of Objectivity, Individual Determinations, Degree of Consciousness.” The text records the first two of twelve closed, mostly men-only meetings, held in Paris between 1928 and 1932 by members and fellow travelers of the Surrealist group, at which the participants, according to the collective ethos of Surrealist practice, discussed their sexual preferences, experiences, and beliefs. In the published sessions, the group's leader, André

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Leveque, James. "Surrealism and the ‘Fissured Subject’: Breton, Éluard, and Desnos." FORUM: University of Edinburgh Postgraduate Journal of Culture & the Arts, no. 11 (December 12, 2010): 1–21. http://dx.doi.org/10.2218/forum.11.655.

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Although known as one of the most doctrinaire movements of the historical avant-garde – mostly due to Breton’s intense theorising and dominating personality – individual Surrealists approached the problem of the divided and decentred subject from substantially different angles. Surrealism began as a poetic movement around the circle of Breton, Soupault, Louis Aragon, Paul Éluard, Benjamin Péret, and Robert Desnos. By the end of the 1930s most had broken with Breton, if not the foundational tenets of the movement itself. This study examines collections of Surrealist poetry from the mid-1930s fr

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Sousa, Rui. "Mário Cesariny’s Perspective on Portuguese and International Surrealism: Dialogue and Distinction." Caietele Echinox 47 (December 1, 2024): 223–45. https://doi.org/10.24193/cechinox.2024.47.14.

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The present paper aims to offer an overview on the surrealist movement’s reception in Portugal, as well as the perspectives adopted by Portuguese surrealists from a peripheral position in the international panorama. In addition to approaching certain critical aspects characteristic to Surrealism in Portugal, the present paper also traces the path that leads from the marginalization and obscurity of the main authors and episodes of Portuguese Surrealism outside of national borders to the increasing international recognition of the Portuguese groups and main authors. This shift is largely attrib

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Busch, Kathrin. "Subversion des Bildes." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 54. Heft 1 54, no. 1 (2009): 13–29. http://dx.doi.org/10.28937/1000106146.

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Die weitreichende Bedeutung des Surrealismus für die sogenannte postmoderne Philosophie ist unbestritten. Vermittelt über Autoren wie Bataille oder Artaud konnte die im Surrealismus formulierte Skepsis gegenüber der Vernunft und die Revisionen der Subjekttheorie philosophisch wirksam werden. Daß darüber hinaus auch das Denken des Bildes wesentliche Impulse aus dem Surrealismus erhalten hat, blieb demgegenüber weitestgehend unbeachtet. Der Aufsatz will die Relevanz der surrealistischen Bildauffassung für die französische Philosophie aufweisen und zeigen, daß es vor allem der pathische oder obse

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Bracken, Patrick. "Psychiatry and Surrealism." Bulletin of the Royal College of Psychiatrists 10, no. 4 (1986): 80–81. http://dx.doi.org/10.1192/pb.10.4.80.

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A recent edition of the Bulletin contained a letter which was originally published in La Révolution Surréaliste 60 years ago. The letter was probably written by André Breton and was basically an attack on psychiatry as then practised in France and in particular on the process of involuntary admission. The letter appeared in the Bulletin under the title ‘An Historical Vignette: Surrealism and Anti-Psychiatry’. While there can be little doubt that the surrealists were antagonistic to psychiatry I would like to argue that a great deal of their work is of potential interest to psychiatrists. The s

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Shik, I. A. "“Moscow Surrealism” by Mikhail Dashevsky." Art & Culture Studies, no. 4 (December 2023): 152–81. http://dx.doi.org/10.51678/2226-0072-2023-4-152-181.

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In the article, the researcher analyzed the photographic heritage of the Moscow photographer M.A. Dashevsky presented in the book Native Retro. 1962–2002. Photo Saga (2020) through the prism of surrealist aesthetics, and draws parallels between his works and the works of foreign photographers connected with this art movement. Despite the fact that in Russia, surrealism as a separate trend was not fully represented, it is possible to reveal the elements close to its conceptual program in various types of Russian art of the 20th century. In his photographs, M.A. Dashevsky offered the author’s ve

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Прадівлянна, Людмила. "СЮРРЕАЛІСТИЧНА ПОЕЗІЯ В КОНТЕКСТІ ЛІНГВОПОЕТИЧНИХ ЕКСПЕРИМЕНТІВ ЄВРОПЕЙСЬКОГО АВАНГАРДУ". Journal of Cross-Cultural Education, № 4 (30 грудня 2024): 58–66. https://doi.org/10.31652/2786-9083-2024-4-58-66.

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This article analyzes the linguistic and poetic experiments of the surrealists within the broader context of the avant-garde movements that preceded them. By reviewing the ideas and theoretical works of Romantic poets, Symbolists, Futurists, and Dadaists, the study identifies key generalizations about the nature of their linguistic experimentation and evaluates their influence on the poetics of surrealism. The research demonstrates that a characteristic feature of most avant-garde schools was their dissatisfaction with the expressive potential of language, which was perceived as an imperfect t

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Foster, Victoria. "The Return of the Surreal: Towards a Poetic and Playful Sociology." Qualitative Sociology Review 15, no. 1 (2019): 148–64. http://dx.doi.org/10.18778/1733-8077.15.1.07.

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This article argues that the time is ripe to reacquaint sociology and surrealism. Taking inspiration from surrealism’s emphasis on making the ordinary strange through bizarre, lively and sometimes haunting methods might result in a more poetic and playful sociology. The article looks at how this might be applied in practice through drawing on a variety of examples of social research that share some of the tenets of surrealism, not least the latter’s focus on social justice. This enables discussion of a number of methodological concerns stemming from feminist and post-structuralist thought, inc

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Emrali, Refa. "Surrealist inheritance in drawing." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (2016): 143–48. http://dx.doi.org/10.18844/prosoc.v2i1.291.

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Sequential movements in history of art have led to revolutions during the times they originated. Thereafter, they maintained their existence in work of art with their indications. These heritages artists have acquired take them away from their pasts, bring them to present, and at this very point where past and present intersect, enable them to view future. Drawing is the origin of creative practice in all plastic arts, from painting to architecture. Artistic contemplation begins with nature we are part of and a familiar object close by. Examining entity and life-drawing teaches us how to obser

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Pradivlianna, Liudmyla. "DREAM AND REALITY IN THE POETRY OF DAVID GASCOIGNE (LINGUISTIC ANALYSIS OF THE POEM AND THE SEVENTH DREAM IS THE DREAM OF ISIS)." Odessa Linguistic Journal, no. 12 (2018): 32–38. http://dx.doi.org/10.32837/2312-3192/12/5.

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Surrealism, the XX century literature and art movement, inspired an impressive number of scientific research regarding different aspects of the phenomenon. This paper studies surrealism as a type of artistic thinking which raised the role of the unconscious in poetry. It focuses on the core of surrealist aesthetics – an automatic image, which allowed the poets to study human irrational states, such as dreams. Focusing on the themes of dreams and dream-like narrations, surrealists created poetry which was formed by specific images. An automatic image coming directly from one’s unconscious mind

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GIULIODORI, Lucio, Aisana BOLDYREVA, Anna BOBUNOVA, and Vladislav BORANENKOV. "Surrealism Between Psychological Investigation And Artistic Commitment." WISDOM 14, no. 1 (2020): 167–74. http://dx.doi.org/10.24234/wisdom.v14i1.306.

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Deciphering the mysteries of the unconscious was one of the central aims of Surrealists who, in order to achieve this goal, experimented with the most different techniques. The unconscious, displaying the contents that then can be painted, turned to be both a way to embark on an inner exploration and a source of creativity. My paper firstly sheds light onto this marriage of art and psychology which, in Surrealism, harmoniously blended generating a fascinating and fruitful combination between creation and self-creation - art as a tool of self-knowledge and even inner evolution is one of t

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Ulrich, Silvia. "Surrealistische Spuren in Walter Serners Kriminalgeschichten. Beispiele aus dem Band “Zum blauen Affen (1921)”." Otago German Studies 32 (March 5, 2025): 242–65. https://doi.org/10.11157/ogs-vol32id493.

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This paper examines surrealist traces in selected stories from Walter Serner's Zum blauen Affen (1921). The first section addresses humor as a core feature of Serner's narrative strategy, while the second explores Eros as a central motif. The final section engages with the theoretical perspectives of Walter Benjamin and the French surrealists, probing whether Serner’s use of surrealist elements serves merely as a critique of dada or extends to challenge the avant-garde more broadly—including surrealism itself—by counterposing his own vision of the relationship between reality and fiction, a vi

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Eburne, Jonathan P. "Surrealism in the Imperfect." Otago German Studies 32 (March 5, 2025): 30–67. https://doi.org/10.11157/ogs-vol32id487.

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Inspired by Walter Benjamin’s encounters with surrealism in Paris during the late 1920s and early 1930s, “Surrealism in the Imperfect” proceeds from a reflection on browsing for books as a formative period of research. The article focuses on the history of post-WWII surrealist publishing and the turn-of-the-millennium remainder market as terrain for reconsidering Benjamin’s notion of “profane illumination” as consistent with the surrealist movement’s project of revaluing the concept of value.

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Urbancová, Linda. "Emilio Adolfo Westphalen, un surrealista a medias." Studia Romanistica 21, no. 2 (2021): 61–68. http://dx.doi.org/10.15452/sr.2021.21.0010.

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Emilio Adolfo Westphalen, a Semi-Surrealist. This work aims to establish similarities between surrealist poetry and the poetry of the Peruvian poet Emilio Adolfo Westphalen. The first part of the text is aiming to outline main characteristics of avant-garde literature in Peru between the years 1920 and 1930 and the process of implantation of a surrealist movement born in Europe. The mentioned process of implantation was hard and complex, especially, because it clashed with the local political system and partial renunciation of the previous movements such as Modernism, Symbolism, and Romanticis

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Pikkov, Ülo. "Surrealist Sources of Eastern European Animation Film." Baltic Screen Media Review 1, no. 1 (2013): 28–43. http://dx.doi.org/10.1515/bsmr-2015-0003.

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Abstract This article investigates the relationship between surrealism and animation film, attempting to establish the characteristic features of surrealist animation film and to determine an approach for identifying them. Drawing on the interviews conducted during the research, I will also strive to chart the terrain of contemporary surrealist animation film and its authors, most of who work in Eastern Europe. My principal aim is to establish why surrealism enjoyed such relevance and vitality in post-World War II Eastern Europe. I will conclude that the popularity of surrealist animation film

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Park, Seungbae. "Surrealism Is Not an Alternative to Scientific Realism." Logos & Episteme 10, no. 4 (2019): 379–93. http://dx.doi.org/10.5840/logos-episteme201910435.

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Surrealism holds that observables behave as if T were true, whereas scientific realism holds that T is true. Surrealism and scientific realism give different explanations of why T is empirically adequate. According to surrealism, T is empirically adequate because observables behave as if it were true. According to scientific realism, T is empirically adequate because it is true. I argue that the surrealist explanation merely clarifies the concept of empirical adequacy, whereas the realist explanation makes an inductive inference about T. Therefore, the surrealist explanation is a conceptual on

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Moldovan-Cywiñska, Marta. "Happenings of The Orange Alternative Movement as an Example of Surrealism in Poland in the 1980s." Филолог – часопис за језик књижевност и културу 15, no. 30 (2024): 431–39. https://doi.org/10.21618/fil2430431m.

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This text is a contribution to the state of research on the surrealist dimension of the actions and verbal messages of the movement known as the Orange Alternative. The author outlines the role of happenings and their artistic and contestation dimensions, as well as showing the links with surrealism. A special dimension of contestation was given to it by the founder of the Orange Alternative movement in Poland – Waldemar „Major” Fydrych, highlighting the essence of the happening's verbal message. The text includes references to the inspiration of Max Ernst's Collages and André Breton's Manifes

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Lamas, Gabriel Bustilho. "Por um conceito de revolução surrealista." Cadernos de Literatura Comparada, no. 49 (2023): 33–59. http://dx.doi.org/10.21747/21832242/litcomp49a2.

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This article seeks, through texts from the magazines La Révolution surréaliste (1924-1929) and Le Surréalisme au service de la révolution (1930-1933), to think about what would be the “surrealist revolution” that Breton and company sought in the early years of the movement. This will be done by going through the ideas that the surrealists manifested about the revolution (both their own and that of others, more specifically, the communist revolution). In addition, it will also be necessary to reinsert, within surrealism, one of its most important dissidents, Antonin Artaud, who was expelled pre

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Foucault, Anne. "Questioning the Avant-Garde." Journal of Avant-Garde Studies 4, no. 2 (2024): 256–78. http://dx.doi.org/10.1163/25896377-00402004.

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Abstract The global symbolic destitution that was at the core of the revolutionary months of May and June 1968 forced the Parisian surrealist group to entirely rethink its vocabulary and means of action. The aim of this article is to study these fundamental evolutions marking a shift in surrealism’s history regarding its relationship to an avant-gardist conception of revolution, still inherited, despite the rupture with the French Communist Party, from a Leninist scope. The Paris Surrealist collective, as such, was no longer effective and dissolved itself in the protest movement. Analyzing sur

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Shik, Ida A. "Jerry Uelsmann and Contemporary Digital Photography: Jungian Images of ‘Photoshop’s Godfather’." Vestnik of Saint Petersburg University. Arts 13, no. 2 (2023): 326–43. http://dx.doi.org/10.21638/spbu15.2023.207.

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In the article, the researcher made a comprehensive study the American photographer Jerry Uelsmann art as a kind of contemporary digital photo-surrealism “prehistory”. The author revealed connections of Jerry Uelsmann works with American modernist photography and historical surrealist photography. The researcher analyzed the structure of Jerry Uelsmann’s hybrid images in the context of the ideas of analytical psychology, and also outlined the themes and concepts proposed in the works of the photographer that would be relevant in contemporary digital photography. The study showed that Jerry Uel

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Parkinson, Gavin. "Surrealism and Quantum Mechanics: Dispersal and Fragmentation in Art, Life, and Physics." Science in Context 17, no. 4 (2004): 557–77. http://dx.doi.org/10.1017/s0269889704000262.

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ArgumentBy the time the members of the Surrealist group had fled Paris and dispersed at the beginning of World War II, they had taken account of quantum mechanics and were seeking various ways of assimilating its findings into Surrealist theory. This can be detected in writings issuing from the Surrealist milieu as early as the late 1920s. However, while writers and thinkers outside the field of physics swiftly expressed their awareness of the epistemological crisis brought about by quantum mechanics, Surrealism's artists began to conscript the concepts and imagery of modern physics into their

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Huo, Dan, and Fan Yang. "Application of Western Surrealistic in Design of Landscape Architecture." Applied Mechanics and Materials 226-228 (November 2012): 2394–97. http://dx.doi.org/10.4028/www.scientific.net/amm.226-228.2394.

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Surrealism was the twentieth century’s longest lasting art movement in the arts. It explored the mysterious dream world of the unconscious mind. Surrealist works depict a familiar yet alien world of dreamlike serenity and nightmarish fantasy, and their legacy pervades much of contemporary art, literature, film and popular culture. As a representation of irrational aesthetics in the modern art trends, it is worthwhile to study the influence and construction of Surrealism in modern landscape architecture. This paper explores the modern landscape form under the influence of Surrealism Art by anal

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Oprescu, Florin. "La Beauté CONVULSIVE et les convulsions du roman surréaliste. Nadja (1928, A. Breton) et Zenobia (1985, G. Naum)." Numéro spécial 23, no. 2 (2023): 191–98. http://dx.doi.org/10.4467/20843917rc.23.020.18514.

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The CONVULSIVE Beauty and the Convulsions of the Surrealist Novel. Nadja (1928, A. Breton) and Zenobia (1985, G. Naum) The article examines some of the communicating vessels (« vases communicants ») between André Breton’s theoretical surrealism and Gellu Naum’s neo-surrealism praxis. The focus of the analysis is also on the intersection points among the two novels, Nadja (1928) and Zenobia (1985), defining moments of beginning and of the last surrealism. The aim is to determine the synthetic (theoretical and practical) manifesto of Breton’s novel, Nadja, and the pure poetic act of the last Eur

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Prokudin, Gleb Andreevich. "Afro-surrealism in screen arts as an experience of the Otherworldly." Культура и искусство, no. 4 (April 2024): 103–15. http://dx.doi.org/10.7256/2454-0625.2024.4.70370.

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This article is a study of such an original trend in art as "Afro-surrealism". The study contains an excursion into the history of this phenomenon, but special attention is paid to the special connection of the genre of Afro-surrealism with the realm of the otherworldly. The genre, being an offshoot of the general group of surrealist trends, tends to create images that cross the line of rational reality, in other words, Afro-surrealist works by their nature strive for knowledge of the otherworldly. Nevertheless, Afro-surrealism contains unique structural elements and techniques that make it po

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James, Alison. "The Surrealism of the Habitual: From Poetic Language to the Prose of Life." Paragraph 34, no. 3 (2011): 406–22. http://dx.doi.org/10.3366/para.2011.0033.

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This article argues that the later philosophy of Wittgenstein has significant affinities with surrealist approaches to the ordinary. It links the question of ordinary language first to the dilemmas of poetic speech after Mallarmé, then to a current of thought on everyday life that emerges in France in the wake of surrealism (Lefebvre, Blanchot, Certeau). Finally, a reading of prose texts by Breton and Aragon brings together these two lines of argument, demonstrating that surrealism appeals to ordinary language and everyday life as a remedy against the threat of scepticism. Surrealist manipulat

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Eburne, Jonathan P. "The Transatlantic Mysteries of Paris: Chester Himes, Surrealism, and the Série noire." PMLA/Publications of the Modern Language Association of America 120, no. 3 (2005): 806–21. http://dx.doi.org/10.1632/003081205x63877.

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This essay examines Chester Himes's transformation, in 1957, from a writer of African American social protest fiction into a “French” writer of Harlem crime thrillers. Instead of representing the exhaustion of his political commitment, Himes's transformation from a “serious” writer of didactic fiction into an exiled crime novelist represents a radical change in political and literary tactics. In dialogue with the editor and former surrealist Marcel Duhamel, Himes's crime fiction, beginning with La reine des pommes (now A Rage in Harlem), invents a darkly comic fictional universe that shares an

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Παπαθεοδώρου, Γιάννης. "ΓΙΑΝΝΗΣ ΠΑΠΑΘΕΟΔΩΡΟΥ, «Αλλά τους τρελλούς τους κλείνουν εις τα φρενοκομεία». Υπερρεαλισμός, ψυχανάλυση και ηθικός πανικός στη δεκαετία του ’30". Σύγκριση 31 (28 грудня 2022): 120–32. http://dx.doi.org/10.12681/comparison.31279.

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“Crazy people should be locked up in the asylum”. Surrealism, psychoanalysis and moral panics in ‘30s. In this paper, I discuss the ways in which the reception of psychoanalysis through surrealism diffused into the wider social discourse of popular culture during the interwar period. My central argument is that surrealism in Greece was connected to intellectual and mental illness. Thus, the concept of "scandal" is inscribed in the rhetoric of “moral panics”, that "paranoid modernism" causes. The polemic against surrealism emphasized its relationship with madness and the “margins” of the litera

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Franco, António Cândido. "«Os Surrealistas», no centenário de Mário Cesariny e de Mário-Henrique Leiria." e-Letras com Vida - Revista de Estudos Globais: Humanidades, Ciências e Artes, no. 11 (December 30, 2023): 65–79. http://dx.doi.org/10.53943/elcv.0223_65-79.

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This article seeks to examine the roots of the organized surrealism in Portugal, in the second half of the 1940s, starting with the dialogue between two young poets, Mário Cesariny and Alexandre O’Neill, who were instrumental in the formation of the Surrealist Group of Lisbon (1947-1950). An attempt is made to understand the tensions that erupted within this group, leading to the resignation and departure of Mário Cesariny and António Domingues in the summer of 1948 and the subsequent formation of the group «The Surrealists» (1949-1952). This group emerged from encounters with a new set of per

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Spiteri, Raymond. "Surrealism in the Shadow of the French–Algerian War." Journal of Avant-Garde Studies 4, no. 2 (2024): 185–215. http://dx.doi.org/10.1163/25896377-00402001.

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Abstract The French–Algerian War (1954–1962) was a key event in post-WWII French history. It coincided with a renewal of the French surrealist movement, with the publication of a new review, Le Surréalisme, même (1956–1960), and a major group exhibition in 1959, Exposition intéRnatiOnale du Surréalisme (EROS). What effect did the French–Algerian War have on surrealism? The surrealists not only supported Algerian independence, but they were also involved in the intellectual opposition to the war, participating in numerous initiatives supporting the Algerian cause. Yet, despite this evidence, th

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Francesca, Vagnoni, and Scopelliti Paolo. "Breton’s Hatchet: A Dream Simulation at the Confluence between Surrealism and AI." Clinical Psychology, Psychotherapy and Counseling 1, no. 1 (2024): 001–4. http://dx.doi.org/10.17352/cppc.000001.

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Many recent experiences done by AI in the fields of augmented creativity and computational art are full of unleashing the algorithms’ surrealist power. Surrealism, the avant-garde movement Breton launched in 1924 in Paris, combined his artistic needs with those of nascent psychoanalysis: so, dream stories, automatic writing and simulations of mental illnesses allowed historical surrealism to make a notable contribution to the development of psychoanalysis. Now that neuroscience and AI are joining both psychoanalysis and Surrealism, the absence of dream simulation in historical surrealism is ev

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Wango, Kamau. "How Students Think: Efficacy of Surrealism as an Avenue for the Generation and Expression of Thought among Fine Art Students at Kenyatta University, Nairobi, Kenya." East African Journal of Arts and Social Sciences 7, no. 2 (2024): 394–433. https://doi.org/10.37284/eajass.7.2.2535.

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Surrealism is one of the most fascinating expressive genres of Art and seems to engage students in a very profound manner in the way they perceive themselves, the essence of their individuality, their inherent ideas, emotions and thought processes. In retrospect, it can be viewed from the perspective that it provides a unique opportunity for individual students to express points of view from imageries that emanate from the state of their minds. At the University level, surrealism particularly in drawing, has emerged as a potent visual consolidation of the ability of students to galvanize thoug

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Wango, Kamau. "How Students Think: Efficacy of Surrealism as an Avenue for the Generation and Expression of Thought Among Fine Art Students at Kenyatta University, Nairobi, Kenya." East African Journal of Arts and Social Sciences 8, no. 1 (2025): 486–517. https://doi.org/10.37284/eajass.8.1.2895.

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Surrealism is one of the most fascinating expressive genres of Art and seems to engage students in a very profound manner in the way they perceive themselves, the essence of their individuality, their inherent ideas, emotions and thought processes. In retrospect, it can be viewed from the perspective that it provides a unique opportunity for individual students to express points of view from imageries that emanate from the state of their minds. At the University level, surrealism particularly in drawing, has emerged as a potent visual consolidation of the ability of students to galvanize thoug

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Buekens, Filip. "Lacans conceptueel surrealisme / Lacan's conceptual surrealism." Krisis 7, no. 2 (2006): 17–35. http://dx.doi.org/10.1347/kris.7.2.17.

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Spiteri, Raymond. "Max Ernst in 1929: Collage and the Politics of the Outmoded." Otago German Studies 32 (March 5, 2025): 68–103. https://doi.org/10.11157/ogs-vol32id489.

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In 1929, Max Ernst returned to collage with La Femme 100 têtes, a cycle of 147 collages with brief captions. Although collage had been central to Ernst's early work, he shifted to frottage after the 1924 Surrealist Manifesto. This paper explores Ernst’s return to collage amid a critical moment of division within the surrealist movement, polarized by debates over surrealism's revolutionary role, collective creativity, and its relationship to political action. In this context, La Femme 100 têtes exemplifies how collage, with its use of ambiguity and refashioning of outdated materials, navigated

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Um, Sung Won. "Cho Hyang’s Poetics Research." Korean Association for Literacy 14, no. 6 (2023): 513–36. http://dx.doi.org/10.37736/kjlr.2023.12.14.6.18.

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This study provides a diachronic overview of Cho Hyang’s poetics and traces the meaning of the unique surrealist ideas he pursued. He did not unilaterally accept Western surrealism, but tried to transform it in his own way and pioneer our own surrealism. Cho Hyang did not recognize a single signified and worked hard to dismantle it, and aimed for pure freedom by destroying existing ideas and liberating humans from reason and rationality. In addition, he chose Surrealist aesthetics to overcome Dada, and through this he explored the language of the unconscious rather than a rationalistic l

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Cole, Lori. "Between Surrealism and Abstraction in Chile: The Decembristas in Print." H-ART. Revista de historia, teoría y crítica de arte, no. 17 (July 31, 2024): 187–213. http://dx.doi.org/10.25025/hart17.2024.07.

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Frequently hailed as the first exhibition of surrealist art in Latin America, the 1935 exhibition organized in Lima by the Peruvian poet and artist César Moro, with the help of the Chilean artist María Valencia, in fact featured work by a group of Chilean artists known as the “Decembristas.” The Chilean poet Vicente Huidobro wrote for the 1933 catalogue, which primarily promoted abstraction. Moro’s exhibition, the group’s third, was identified as surrealist through its provocative catalogue and by its presence in the “Surrealism around the World” spread in Minotaure. Both Huidobro and Moro spe

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Φερεντίνου, Βικτώρια. "ΒΙΚΤΩΡΙΑ ΦΕΡΕΝΤΙΝΟΥ, Τα συγκοινωνούντα δοχεία μιας υβριδικής ποιητικής: Ο μύθος ως διακαλλιτεχνική και διαπολιτισμική ώσμωση στο έργο του Νίκου Εγγονόπουλου". Σύγκριση 31 (28 грудня 2022): 28–41. http://dx.doi.org/10.12681/comparison.31272.

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The Communicating Vessels of a Hybrid Poetics: Myth as Intermedial and Intercultural Osmosis in the Oeuvre of Nikos Engonopoulos In 1938, the year of the International Exhibition of Surrealism at the Gallery Beaux-Arts in Paris, the poet and painter Nikos Engonopoulos created Birth of Orpheus and Genesis of Myth. The depiction of the birth of young Orpheus as emblematic of the construction of myth recalls the mythopoetic process as articulated in the anthology of the poet, psychoanalyst and photographer Andreas Embeirikos, Writings or Personal Mythology (1936-1946): “Each myth’s becoming is a

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Widiyanti, Dhyani. "Representation of the Female Body as a Substance of Contemporary Ornamentation in Metal Jewelry." Corak 13, no. 2 (2024): 143–54. https://doi.org/10.24821/corak.v13i2.13723.

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This study explores the role of surrealism in metal jewelry design as it pertains to the representation of the female body. The research focuses on the works of three contemporary metal jewelry artists from Etsy, examining how their creations utilize surrealism to express experiences of castration and fetishism, as theorized by Freud. It investigates the interplay between functionality and unconventional forms, highlighting how surrealism allows for a critique of traditional gender norms and a subversion of established visual conventions. By employing literature studies and visual analysis, th

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Bou, Enric. "Fragmentary writing in J.V. Foix’s surrealist criticism and poetry." Journal of Romance Studies 23, no. 4 (2023): 487–509. http://dx.doi.org/10.3828/jrs.2023.22.

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This article addresses a little-known episode in the surrealist movement: the adventurous (if not hindered) integration of surrealism into Iberian literature and art, particularly J.V. Foix’s intervention through critical (in La Publicitat ) and poetical writing ( Gertrudis , 1927, and KRTU , 1932), and his collaboration with Salvador Dalí and Joan Miró. Foix accomplished the dynamic process of transforming and reconfiguring the meaning and function of surrealist aesthetics in Catalonia in a complex network and context. Reading Foix not only as a philological issue, but also against an interna

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Hansen, Catherine. "Surrealism Is a Thing: Rubrics and Objectivation in the Surrealist Periodical, 1924–2015." ARTMargins 5, no. 3 (2016): 62–81. http://dx.doi.org/10.1162/artm_a_00158.

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What links the existing international surrealist movement—a network of groups who publish their essays and collective experiments in an array of print and online periodicals—to the 20th-century Surrealism of art history textbooks is, to a large extent, its periodical publishing practices. This article pays particular attention to the periodical rubric (defined as a heading or category under which a certain kind of text or image serially appears) and contextualizes its surrealist use within a broader poetics of “objectivation.” In Surrealism, objectivation is the creation of a “thing,” which is

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Vasina, Daria. "The Early Poetry of Nikos Engonopoulos: Aspects of the Embodiment of Imagery." Stephanos Peer reviewed multilanguage scientific journal 59, no. 3 (2023): 113–19. http://dx.doi.org/10.24249/2309-9917-2023-59-3-113-119.

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The article is devoted to the imagery in the first two poetry books “Do Not Distract the Driver” and “The Clavichords of Silence” by Nikos Engonopoulos, one of the brightest representatives of Greek surrealism. In his early works, the poet follows surrealist principles, the main of which is the principle of building paradoxical, illogical connections between ordinary objects. With the help of such connections it is considered possible to comprehend surreality. At the same time, the absurdity of images is not tantamount to incomprehensibility: their repetitions and use in various contexts made

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Alnazarova, G. "Revisiting Correlations between Real and Imaginary in Space of Surrealism." Bulletin of the Innovative University of Eurasia 82, no. 2 (2021): 9–14. http://dx.doi.org/10.37788/2021-2/9-14.

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Main problem: this article deals with the research of surrealism which is not just one of ordinal modernism directions or one of many isms in the art of the 20th century, but which appears as a universal phenomenon in the culture of the epoch, reflecting its main features; surrealism has risen many issues substantive for culture modernity, and resolutions of which are worthy in-depth study. Purpose: to determine the meaning of the unconscious when building a surrealistic world picture and show the relationship and interinfluence of the arts and reality, real and imaginary within the frames def

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Sousa, Rui. "Surrealismo Português e Surrealismo Internacional a partir da correspondência de Mário Cesariny com Sérgio Lima, Laurens Vancrevel e Frida Vancrevel." Cadernos de Literatura Comparada, no. 49 (2023): 11–31. http://dx.doi.org/10.21747/21832242/litcomp49a1.

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From the end of the 1960s onwards, Mário Cesariny established a prolific dialogue with the international surrealist movement, with repercussions on the way in which the Portuguese Surrealism came to be considered. In this paper, I propose a perspective on Cesariny's critical intervention in a moment of transition in the panorama of the international surrealist movement, represented, on the one hand, by a certain decentralization in relation to the Parisian paradigm and, on the other hand, by the pluralization of surrealist groups. Cesariny's correspondence with the Brazilian Sergio Lima and wi

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